Humanistic Map

Much of Densmore’s work is rather scientific in nature as she categorizes Indigenous songs and analyzes their musical construction through a Western lens. This map, which we have named ‘The Humanistic Map’ works to undermine this approach by focusing on the communities from which these songs came. It shares cultural information about each of the tribes that Densmore published works about as she collected Indigenous music. This map serves as a resource to students and musicologists alike as they study the life and work of Densmore along with the Indigenous people who shared knowledge and music with her. This map contrasts the song collection maps by seeking to tell stories of the people who make up each tribe that Densmore interacted with. While the other maps demonstrate the prolific nature of Densmore’s work along with specific songs that she collected; this map seeks to depict the pieces of Native American culture that Densmore included within her writings about specific tribes. We collected information for this map from Densmore’s own bulletins on each of the tribes she interacted with. Our goal when collecting this data was to identify Indigenous narratives and perspectives within Densmore’s work. Additionally, this map seeks to refocus Densmore’s work not on her own academic strength and ambition, but instead on the musicians who created the musical works which she studied. These Indigenous perspectives, along with Densmore’s own cultural conclusions, are shown within this map. Data for this map was collected from Densmore’s own bulletins and articles, centering Indigenous stories and perspectives along with Densmore’s conceptions of important cultural pillars of each nation.

For better or worse, the authority of this map rests almost entirely on Densmore’s shoulders. The cultural information that makes up this map comes from Densmore’s own writings and cultural conceptions and the time she was researching. While significant efforts were made to identify those portions of her writing that center Native stories and cultural pillars within each tribe, Densmore’s own bias is at the core of this map. However, there are still some valuable lessons to be learned from this Densmore-centric exhibit. By focusing on Densmore’s perspectives, this map tells of a segment of history that musicologists and students ought not forget. Further, this map exhibits a portion of Native history that Americans must keep at the forefront of their minds. 

Having Densmore’s at the center of study on Indigenous music is incredibly frustrating and disappointing for a variety of reasons. When one is aware of her racist methodologies when studying this music and these people, it can be discouraging to see that her work is once again being discussed and in some way uplifted. However, creating a space which seeks to highlight the indigenous voices within Densmore’s work is a step (be it a small one) towards recognizing the Indigeous people who shared this knowledge with Densmore as true scholars and experts. Beyond this map and work lies further steps toward restorative justice where we acknowledge the grotesque intergenerational injustices committed against Native Americans and strive towards a more inclusive, supportive future.